Synesthetic Inspiration: An Interview with Teleman

Sep 4 2014

words by @alancholesterol

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Those that deny evolution would be hard pressed to explain Teleman. The Reading, UK quartet sprung forth from the demise of Pete & The Pirates, a group championed by Zane Lowe and his fellow BBC jockeys, known for “punk blasts of power” and “kraut-rock frugouts” (as Rough Trade brilliantly put it). After a glorious eight-year run ending in 2012, the band hung its hat, allowing vocalist and guitarist Thomas Sanders, his brother Jonny Sanders the drummer, and Pete Cattermoul to split off together in search of new musical frontiers.

The result was a brand new beast altogether. In Teleman, Jonny moved over to synth duties, which made room for the intuitively clever trap work of Hiro Amamiya. The focus moved from loud, persistent riffs to subtle arrangements that employ brilliant use of space. Franz Ferdinand’s Alex Kapranos has publicly praised their song “Steam Train Girl”, saying, “the notes just seem to hang in the space. There seems to be absolutely no excess, nothing bombastic in the playing. It’s all quite delicate. But the emotion behind it is all the powerful as a result.” That track and many other gems are on their debut LP Breakfast, released by Moshi Moshi. We had a quick word with frontman Thomas to discuss his creative process and we can expect from their September 26th show at Glasslands.

The visual theme you guys often work with involve these colored circles, used very creatively in all your music videos. How did you arrive at this mosaic? Four colors for four band members? The “back to where we started” lyric in Cristina? 

This originated from when Jonny and I were pondering over an idea for our first video for the song “Cristina”. We wanted something that was going to be ridiculously simple, almost and antithesis of a normal music video. The first lingering chord of the song seemed to want to be represented by a basic form and colour; you could say it was a synesthetic inspiration. The video developed in this way, and these humble coloured dots were quite pleasing to us so we adopted them as a motif which we’ve used in our artwork and videos.

You have often said that you’d like to leave your lyrics up to interpretation, but there are so many provocative fragments. Can you provide us any clues as to which themes to listen for? I was especially curious about the “rolling heart gathering moss” passage.

There is a saying that “a rolling stone gather’s no moss.” It’s a great phrase; you have to keep moving and learning or you’re going to stagnate and rust. I liked this metaphor applied to the heart – to be open to new emotional experiences in life, and to make the heart beat fast sometimes!

Three of you were members of Pete & The Pirates which had more of a guitar-based, punk rock edge. Was the incorporation of synths difficult? Or were you guys experienced with these techniques before forming Teleman?

Jonny played the drums in Pete and the Pirates, but he was always a secret synth player. Pete is also a very talented keyboardist, so it was only natural that we’d want to move over some way into that territory. We still love the guitar, and it features quite heavily on our record.

You guys like to get right into business when you play, without dealing in gimmicks or banter. How is the live Teleman experience different from the record?

That’s right. I’d rather not say anything at all but I don’t want to come across as rude or arrogant. It’s just that I find playing live quite daunting and I just really want to focus on the music and not on being an entertainer. I sometimes wonder about my career choice, as I don’t really like people looking at me! Hopefully people have come to listen to us playing the songs as best we can, and not to see a grand spectacle. The songs have a different character when we play them live. I think they are looser and we like to play around with structures and instrumentation here and there so that we aren’t just regurgitating the record. It’s an ever changing process, so our live shows are always being honed and tweaked.

Thank you, Thomas! Cop tickets to Teleman’s 9/26 show with LOLO and Laura & Greg here.

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Interview: Schmear

Jul 18 2014

word by Rebecca Zosia Stern (@rebeccazstern)

Don’t be misguided by their comical name. Schmear is New York trio Chris, Turner, and Tom, who describe their sound as “caressing harmony with seismic battery,” are subtly bold musicians. ‘ eponymous debut LP is filled with a sweet rock reminiscent of Marc Bolan vocals and late 60’s guitar riffs, yet travels towards unfamiliar and haunting melodies that enthrall. PopGun had the pleasure of conducting Schmear’s very first interview after their performance on June 23rd.

Is Schmear your first LP?

Yes, it is our first almost full-length album. We are currently recording a new album right now. It should be finished mid-August.

Each track seems to flow nicely into each other, like chapters with motifs. “54321” is almost like an overture guiding the listener. How did you begin writing the album?

Turner: Well “54321” was probably the first song Chris and I wrote together. It came from a little riff I came up with before we called ourselves anything and developed as we grew into our elements. Its potential was only realized when Tom Stephens got involved in the band; he studied Jazz Percussion at Oberlin and his abilities really set us free. It sounds crazy but this was the first song we showed him. It was kind of a test, if he could stick that song then we knew he was the guy. He totally blew us away and hasn’t really changed since.

Chris: We didn’t really write it as an album, it’s more just a collection of songs we wrote. There were others but we decided to stick the ones that made sense together.

Do all of you contribute to lyrics?

Chris: We have a “you wrote it, you sing it” kind of deal. Turner and I write all the songs.

Turner: Usually our process is oriented in way that we bring songs that we write to the group and flush them out through repetition. They settle themselves kind of like that muck on the bottom of a pond.

Your sound is a little haunting filled with minor chords and sliding harmonies. Have you always been into creating spooky music?

Turner: I have always been drawn towards the underside of beauty in music. It’s not always the brilliant and sanguine that appeals, sometimes its contrast and relation to the dark are what makes a piece so compelling.

Chris: I think yes. I’ve always liked music that sounds isolated. Outsider stuff like blues or bedroom recordings are really exciting. We tried to get some of that vibe by not letting ourselves get to wrapped up in having everything done perfectly, instead we just tried to capture emotional performances.

I am curious about your song titles. They seem super patriotic (“Pride”, “Stars”, “Waves”) .

Chris: “Pride” is about the detriment pride can do to one’s self. The other two are just someone looking around and trying to figure things out. I don’t think patriotism could help with any of that.

Turner: That’s definitely a first for us, I don’t think you could find a less Patriotic band, I mean America the continent is a beautiful place, with some amazing beautiful people, music and art. As for the Patria there’s no love lost there, but I’m speaking for myself here.

Do you speak French? I ask this because of your song titled “L’appel du Vide” (defined as the tiny voice that is telling you to jerk the steering wheel).

Turner: I speak some French, but with disuse it has started to wither. The call of the void, I’ve felt profoundly that feeling throughout my life and the song relates to the fact that it’s not uncommon to find unsettling aspects of ones’ personality, especially that of self-destruction.

Chris: I don’t speak French anymore. I was executed via guillotine, Reign of Terror-era France in my previous life.

How much do you guys like bagels? (Favorite cream cheese?)

Turner: Chris and I are both from NYC and bagel culture here is pretty significant, there was a time, a long time that I think I must have had a bagel with schmear for lunch almost every day, not the healthiest choice looking back from this enlightened organix era but I was a picky eater and those did it for me. They still do! I gotta make a shout out to Ess-a-Bagel on 21st. They never failed me during lunch recess.
Chris: Right now I’m really into the Poppyseed Flagels from Peter Pan in Greenpoint. I like to get bacon, egg and cheese, but only sometimes. I always go for plain cream cheese. I like it with fish, tomato or whatever. Usually I have my schmear on toast with scrambled eggs.

Thank you, Schmear! We’ve put on two incredible performances by these guys and look forward to jamming with them in the future.

Interview: Oneida

Jul 16 2014

words by Ivan Krasnov (@ivankrislov)

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Oneida’s unrelenting propulsion through the likes of krautrock, psychedelia, noise and all-around experimentation has lasted for more than 15 years. This becomes especially admirable when one keeps in mind that such sonic efforts have all been within the context of a ‘rock band’. Yet Oneida’s explorations are uniquely their own, with the aforementioned genres and styles simply being markers of their eclectic influences and subsequent compositions.  

With 12 albums, a slew of live improvisational All Tomorrow’s Parties sets and a recently completed album-trilogy under their belt, the band are embarking on a series of dates that sees them play their first shows outside of NY in years. And to add to their already prolific output, Oneida have revealed on their website numerous new projects including a brand new full-length, 4 limited edition full-length cassettes entitled The Brah Tapes and much, much more.

We caught up with Shahin and Bobby on topics such as the medium of cassette tapes, their ‘drive’ and Can ahead of their Glasslands show on 7/17.

In June 2013, you performed at the Deerhunter-curated All Tomorrow’s Parties in Camber Sands, England with Rhys Chatham. Shahiin – you also joined Kid Millions (John) and Zach Lehrhoff for an Ex-Models performance at the very same ATP (which blew me away). Though you have all played at ATPs in the past, what was this specific experience like? What was it like to be a part of such an eclectic yet excellent and esteemed line-up? People were raving about the Ex-Models show all weekend…

Shahin: It was an honor. I mean you couldn’t ask for a more talented cast of friends, peers, and forbears to be stuck at British Chuck E Cheese with. I’m glad Bradford woke the Models dragon and we got to burn the place down and friends who’d never seen that got to see it. Mostly I remember thinking it was such a relief to be at an ATP and not have to be pulling off an 8 hour recorded improv with like a dozen guests for once.

In 2011 you ended your Thank Your Parents trilogy with Absolute II, yet you followed up almost immediately with 2012’s A List of the Burning Mountains. After more than 15 very diverse years of being a band, how do you remain so prolific? What drives you all to constantly re-enter new jams and soundscapes?

 

Bobby: the question of what drives us is probably unanswerable in a not-lying context. That drive just is, and always has been, and I don’t know where it comes from – but it’s pretty well shared among us all. And given that we are driven to keep going, it seems to make sense that we keep sticking our noses into new places. I mean, if we made a ton of money doing this we’d probably do the same thing over and over again till we stopped getting paid. But you know.

On this upcoming tour that kicks off at Glasslands you will have with you limited edition cassettes of The Brah Tapes, featuring original live and studio material from the past 5 years. Tapes are becoming more and more common today not only on bands’ merch tables but also as a revived platform for new music. How do you feel about the resurgence of tape labels and enthusiasts? What have your relationships been with the medium?

Bobby: My own personal relationship with cassettes is the world of mixtapes. I grew up with taping shit off the radio (thank you WLIR!) and taping my older brother’s LPs – don’t know if you remember, but that’s how we killed music back in the eighties. I’m psyched about tape labels and tape listeners now just because it’s another medium, another way to experience/immerse/explore. And hell yeah, bring back the rewind millstone! Any time you get some obstacles in your life that force you to navigate them in your pursuit of what you want, it keeps you sharp, you know? It’s like when your bandmates retune your guitar between soundcheck and stage time – just be on your fuckin toes, you know?

Your website indicates that you have been recording your thirteenth (!) album this year. What has that process been like? And what does the near future hold in store for Oneida?

Bobby: We’re actually recording more than that right now – we’ve just finished a full album in collaboration with composer Rhys Chatham, AND we’re well along on the next standalone Oneida album. Plus The Brah Tapes… I think we’re doing all right. Near future: more music, more money, more problems.

And finally, the eternal question: Ege Bamyasi or Tago Mago?

Oneida: Love the one you’re with.

Thanks, Bobby and Shahin! Get tickets for their show TOMORROW (7/17) with Disrhythmia and Beech Creeps here.

oneidasitting

Interview: King Khan & The Shrines

Jun 5 2014

words by @alancholesterol

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When Arish Ahmad Khan is performing rock and roll music, it might not be obvious to all, but there is healing going on. On one hand, there’s the driving psychedelic soul music providing salvation for a batshit audience. But you’ve also got the charismatic frontman himself, cleansing his own soul of personal turmoil.

Indeed, just four years ago, the prospect of new King Khan & The Shrines music was in jeopardy, as Khan experienced a “collection of nervous breakdowns” while on an international run with partner Mark “BBQ” Sultan (together they are the King Khan & BBQ Show). Khan’s antics at the Vivid LIVE festival at Sydney Opera House proved too much for the venue, who expelled him, as well as Sultan, which caused the pair to temporarily disband. Compounded with the recent deaths of three close friends, including Jay Reatard, it was all enough anxiety to land Khan in a female-run monastery in Korea, penning letters about giving up music forever.

But Khan’s family came to the rescue and intervened. Soon, the rejuvenated maestro went back to recording, releasing The King Khan Experience compilation before putting together another masterpiece with his nine-piece garage punk powerhouse, The Shrines. Idle No More presents the band in top form, with belting horns, punchy guitars, introspective lyrics, maybe a string section or two. We caught up with Khan recently in preparation for their show tomorrow night at LPR.

The title Idle No More comes from a First Nations movement in Canada. What’s your relationship with the group, and what about it would inspired the title?

When I was a teenager my father would sometimes kick me out of the house and I would stay with one of my Mohawk buddies on the Kahnawake Indian reservation. Two of my best friends were Mohawk Indians and I owe a lot of my fierce punk training to the two of them. I was following what was happening with the Idle No More movement and it made me very happy to see that indigenous people were rising above and fighting the powers that be. I asked them permission to use the name in hopes to spread the word and they were very happy I did it.

I might be wrong, but as far as I understand it, all nine current members of your band have been with you for thirteen years. How on earth do you keep such a huge crew together for so long with all that personality flying around? Any tips?

Well I keep a lock of their hair in a Gris Gris bag and once in a while I put it over a candle and make them sweat profusely. I have promised them eternal happiness if they choose to walk the bridge to the cosmic gate with me. We are a happy freak family.

You’ve talked about how this album marks a return to music after a breakdown or “overload” brought on by personal traumas. I’m curious to how you related to music in this time, if you had any specific appetites or used any genre/artist to cope. What eventually brought you back to the classic Shrines sound?

Well I had to shut myself off completely from music and wait till it naturally came back to me. I had very troubling vulnerable times when I thought I would never come back or be the same. I think this is a very common hurdle when you are trying to get help; I survived and am a testament that your life can be saved if you devote some time to getting help. After a few years of living in oblivion the song “Darkness” came creeping in and I knew I had arrived and come back to life.

You’ve long been collaging images and references to multiple religions and spiritualities in your lyrics – everything from Tarot to Egyptian religion to Voodoo. Given that your world can get pretty rambunctious, do you have certain rules or policies with how to approach these symbols?

I am a spiritual person and I am always on an eternal quest finding out about mysticism all over the world. In the Tarot de Marseilles I found a lot of enlightenment and magic, mostly from the teachings of Alejandro Jodorowsky and with my own mastering of the cards. I approach all these things with a lot of humor as well, I think ultimately laughter is the best medicine.

If you had to recommend one spiritual experience – a visit to a site, a ritual, a talisman etc – for our readers, what would that be?

I would definitely suggest getting a deck of the Tarot de Marseilles and reading Jodorowsky’s book The Way of Tarot. There are some passages in there that are truly divine….

Thank you so much, King Khan! Get tickets to tomorrow night’s (6/6/2014) show at Le Poisson Rouge with Red Mass here!

Interview: MØ

May 16 2014

words by @alancholesterol

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One of the flagship artists in a recent wave of Scandinavian pop sensations, Copenhagen’s Karen Marie Ørsted aka has just dropped her thrilling debut No Mythologies to Follow. The record is a milestone in her prolific history of recording, including her teen years as a punk rocker, and a few pivotal collaborations with the likes of Diplo and Aviici that would boost her profile among English speaking audiences.

PopGun first booked MØ for CMJ 2012, and then as direct support for Australia’s Alpine back in March 2013 at Glasslands. Now, just over a year later, she has sold out the same venue as a headliner far in advance of the show. It’s easy to understand why; her vocals are dynamic, easily sliding from forceful to soothing, her keenly selected beats and are intricate yet subtle, and her lyrics bravely render intimate experiences through her feminist worldview and self-deprecating humor. As you can imagine, prepping for a US tour has kept her extremely busy, but she made some time to answer a few questions for us.

I’ve read bios that refer to the “cool/cold” sound that you’re going for, a strong point for a lot of Scandinavian acts. Taking into account that you’re a student of the visual arts, I was wondering if you’ve ever experienced synesthesia, the mixing of senses (“seeing” sounds, “feeling” colors etc).

I haven’t heard of that word before, but I guess I have experienced something like what you describe. The sounds and the visual stuff I make surrounding the music is often something I sense or feel beforehand, or during the creative process. It is sometimes like I’m seeing the sound or feeling it. Of course this is rather abstract, but it does make a lot of sense to me, though I’ve never heard the term for it before.

On the new album, I detect a little thematic progression in the lyrics. Like on track 2, you’ve got, “…all of you find me crazy ’cause I’ve got a black heart,” and by the last track you’re saying, “If you’re in love beneath the pain – what a pleasant sensation.” Were you trying deliberately to tell a story with the lyrics? Were they written in order or just sequenced that way?

The writing is almost in order, but not a hundred percent, and it wasn’t planned. But I guess the sequence and the order I wrote the songs in have something to do with each other on a higher level – I just didn’t realize until the track list was complete. As I’ve said before, the album doesn’t have any conclusion. The lyrics are about being young, restless and lost in life and society, and I don’t have the answer – I don’t preach a mythology to follow – I’m searching myself, and all the lyrics are personal. They are my way of dealing with these questions in my head… These questions that I feel a lot of people are dealing with – at least in the environment I hang out in.

I’m also very interested in your decision to make the title track of the record a bonus track for the deluxe edition. Why did you make that decision?

I like the song “No Mythologies To Follow” which only made it to the deluxe version of the album, but the thing is, when we had to decide the track list I felt this song was less strong than the 12 that made it to the final album. But I’m happy that it’s on the deluxe version, so that it’s out there, ’cause I think the lyrics point out the essence of the title very well, and I like the production.

It is well documented that you were once in a project called MOR, an electro-punk act. In a Noisey article you mentioned moving a way from pop music in your teens. How has the transition back to indie pop been? 

The transition back to pop happened rather naturally. As you mention, I left pop when I entered my teens, listen only to punk and grunge music for a long time, and forming the electro punk band MOR. But when I then started my first solo project back in 2009 as a side project, I could feel the urge for catchy hooks and strong melodies rising within me. But something had changed – it could never again be the ‘all-cheesy’ pop songs I would listen to and strive to write – it would have to have some kind of edge to it if I was to love it, and I still stick to that. Pop is great but it has to have balls.

In the same article, you mentioned interning for one of our very favorite humans, JD Samson. What did you learn from your time with her?

Yeah, that was great – I was interning for JD with my friend and former band mate Josefine in New York 2012 – just before things slowly started to take off with MØ. I was so proud that JD would take us in, and I think we learned a lot about the DIY lifestyle of a musician/artist/cultural political person during our stay. We learned a lot about taking your career in your own hands, and about projecting what you stand for, which is an important lesson.

Thanks so much, Karen! The MØ show at Glasslands with Erik Hassle on May 22nd is sold out, but you can still win tickets here.

LISTEN: This Week’s Artists

By julia |
May 15 2014

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5/21 @ Glasslands: Split Single, Desert Sharks, Leapling
:: TICKETS ::

5/23 @ Irving Plaza: Maximo Park, Jeffrey Lewis & The Jrams, Eternal Summers
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5/23 @ Glasslands: Triptides, Ian Mellencamp, No Ice
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5/27 @ Glasslands: Hauschka, Jeffrey Zeigler
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5/28 @ Glasslands: Saint Rich, Mon Khmer, Conveyor
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6/6 @ Le Poisson Rouge: King Khan & the Shrines, Red Mass
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LISTEN: This Week’s Artists

By julia |
May 12 2014

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5/14 @ Glasslands – Blood Red Shoes, Radkey, Rad Dreams
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5/15 @ Glasslands – Eleven Pond (Album Release Party!), Klaus, House of Blondes, Autodrone
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5/15 @ Irving Plaza – Morcheeba
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5/16 @ Glasslands – Breton, Kid Karate, Hoodlem
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Sat. 5/17 @ Glasslands – Peelander-Z!, Math the Band, Bluejay
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Mon. 5/19 @ Glasslands – Geographer, Beast Patrol, Rumors
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Sat. 5/24 @ Glasslands – Iceage, Uniform
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Interview: ADULT.

May 6 2014

words by @alancholesterol



ADULT. is currently in a car, making the long trek from Detroit to New York where they’re scheduled to obliterate Verboten’s stage. Just a blink ago the duo of Adam Lee Miller and Nicola Kuperus were in Asheville for Moogfest, joining waveform pioneers like Giorgio Moroder, Keith Emerson, Chic, and Dan Deacon in all-out synth-worship. Their approach to that instrument is everything to their sound; melodies are twisted off of their tonal centers and made to grind each other in dirty, unspeakable ways. No wonder they chose that band name…

All told, it would be unfair to classify the pair as just musicians. Through their distinct videography and imagery, they have created a stark aesthetic for ADULT.  that fixates on human frailty and often veers into violent territory. They’ve been at it for about 16 years now, boasting 5 albums and about 16 EPs, making for an impressive legacy in underground culture.

As ADULT. barrels towards Brooklyn, Kuperus has been kind enough to answer a handful of burning questions…

On The Way Things Fall, you guys kept a lot of your detuned synth aesthetic intact, but it seems you’ve also shifted towards catchier, less dissonant songs. What inspired the changes on this album, and how have they been received? 

Each record we make has a different approach or theme. We of course want to have elements that are consistent that says this is an ADULT. album, but not that each one sounds like the last.  When we began working on The Way Things Fall we had just come out of doing construction work for the past 3 years.  We were listening to a lot of Pet Shop Boys / Depeche Mode / New Order. When you’re working your body that hard all day you really want to hear music that keeps you motivated and helps keep you in a good mood. Why Bother?

Our last album was horror themed. It was a bit harsh. Talked about serial killers and herd mentality. But that was 2008, and we were burnt out and pissed off. When we started The Way Things Fall, it was really private. It was like a cleaning out of the closet and coming back to where we started in a way. It’s a very sentimental album. I think the lyrics are also quite beautiful at times.

As for how the album has been received? It’s impossible to have a perspective on that. It’s not really for us to judge and frankly, we try not to pay too much attention.

 A very fat, analogue synth sound has been pretty integral throughout your career. How, if at all, has your live setup changed over these past 15 years?

It’s changed so many times it’s ridiculous! I will say we are the most happy we’ve been in our 17 years with our live set up. As a 2 person band with no tour budget you have to get pretty clever with what you pack and tour with, especially when touring Europe. Last year we changed our live gear to a Dave Smith Mopho X4, a MOOG Slim phatty, and a sampling keyboard. We can get alot of sound out of these 3 devices and they are incredibly sturdy, light weight machines. It’s really fantastic!

Do you guys have a favorite piece of equipment to use?

We’ve been collecting analog gear since 1996. As for the favorite? It’s always changing. Really depends what mood we are in and what we are working on. Right now, TR-808! Although, we just got a Mooger Fogger FreqBox MF-107 at MOOGfest that is pretty wicked!

You guys are a happily married couple, but a lot of the lyrics seem to be about romantic turmoil. What about your relationship history(s) makes it such fertile ground for exploration?

The lyrics never have anything to do with our relationship. That would be too obvious. The lyrics are observations turned poetic.

There is a remarkable cohesion between Nicola’s imagery and the music you guys make. Do the songs usually inspire the photos and videos that are taken with them, or is it the other way around?

There’s no exact method for what inspires what. We are both visual artist and musicians so everything merges and affects one another. It is all inseparable.

Speaking of shifts, you guys have been on Thrill Jockey records for the majority of your career. How are things different now that you’re with Ghostly? 

Actually, our first 2 albums along with a handful of 12s were on our own label Ersatz Audio. Our 3rd and 4th album on Thrill Jockey. Thrill Jockey is an amazing label as is Ghostly. We are on Ghostly right now because they really wanted to do the rerelease of Resuscitation and then it was a natural progression to do the full length with them.

Big thanks to ADULT.! They’re playing with Xeno & Oaklander and Stallone The Reducer tomorrow (5/7/2014) at Verboten in Brooklyn. Tickets are available here.

ADULT. Dark.

LISTEN: This Week’s Artists

By julia |
May 5 2014

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! May Parties and Shows !

5/6 – Torres, Young Unknowns (EP Release Party!), Eastern Midwestern, Photo Ops
:: TICKETS ::

5/7 – A Minor Forest, The Austerity Program, LUSHES
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5/7 @ Verboten – ADULT., Xeno & Oaklander, Stallone The Reducer
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5/8 – Peaking Lights Sound System, Protect-U, Imperial Topaz
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5/10 – Blue Sky Black Death, M!NT
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5/10 @ Marlin Room at Webster Hall – WebsterHallConcerts.com Presents Hey Champ, French Horn Rebellion, Blank Paper
:: TICKETS ::

5/11 – Heathered Pearls (Live!), Uumans (Matt Mehlan of Skeletons), Yinka Pascal
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5/17 @ Irving Plaza – Morcheeba
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LISTEN: This Week’s Artists

By julia |
Apr 28 2014

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It’s gonna be May.

4/30 – Darkstar, Patten, Visuals @ Glasslands
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5/1 – Slow Magic, Glass Gang, Brothertiger
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5/3 – Computer Magic, Cheerleader, Corbu
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5/3 – Jesse Boykins III, Body Language, Kris Bowers
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5/4 – Jessy Lanza, Ricky Eat Acid, fjtrspa (dj set)
::TICKETS::

5/4 – Weekend, Cities Aviv, Grey Zine
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5/7 – ADULT., Xeno & Oaklander, Stallone The Reducer
::TICKETS::